Distressor or Drawmer 1969?

W

West Of Essex

Guest
I will now play devil's advocate and suggest that a good mastering engineer might be the one to add compression at the 2-bus...

I've heard too many squashed to hell mixes that my mastering buddies can't unsquash and they wish they had had a chance to get at the mix before someone hit it (with one, two, or even three hammers!) when the ^#$%ing thing was gonna come to them in the end anyway!

That said, I hardly know anyone who has the Daniel Weiss compressors at their place. These devices sound FANTASTIC (or is it the mastering guy operating it??) and so I guessed I'd see them come up here, but not yet. Perhaps because they are dig in dig out boxes? Or is that the start of whole 'nuther thread?

Let it BREATHE!

WOE
 

anonymous

Well-Known Member
Joined
Feb 10, 2001
I still don't understand why the make-up gain pots don't lock when using the link feature on the 1969. Especially because there are no notches on the pots, there seems to be no way to get the make-up gain on each channel to be identical. Is this a design flaw or was there some reason for it?


There was/is absolutely a reason for it...cost. To do a set of 'matched/detented output attenuators', you're looking at a minimum of $500 USD additional for the device. Most folk would find that a tad cost prohibitive, so it doesn't have them.

I know exactly what you're talking about, and FWIW, I too prefer "matched/detented" output trims, but like most folks, I'm a cheap bastard and don't really want to pay for them.

What I've found as a viable 'work around', when I have the unit set up the way I want, just before I "print", I run a 1kHz tone through the unit :D


Originally posted by West Of Essex:
I will now play devil's advocate and suggest that a good mastering engineer might be the one to add compression at the 2-bus...

No argument there, however, a little extra, as long as it's not overly "squishy" sounding is often really helpful. My goal is to assist my client to convey their musical statement. Very often a part of that conveyence is assisting the product to be as loud as possible on the radio. I'm not saying it's right, just reality. Last night, there was a basketball game on the radio station I generally listen to (I'm not a basketball fan), so I turned on a 'music station'.

They played a song by the 'Motels' followed by a song off the new 'Dave Mathews Band' album. The new "DMB" song sounded like it had been a case study in "constant 6kHz".

I actually had to turn it down to hear the song!! It was compressed, it was constant, it was bright, it was one heap big loud motherfucker. It was musically interesting once I got it so it didn't scream at me. I was remarkably impressed at how "aggressive" this 'happy little ditty' sounded. On first listen, it seemed like a fairly cheery sounding song, I didn't quite catch the lyrics, however the audio was as aggressive and "in your face" as a drunken Marine in a New Jersey barroom :eek:

I've heard too many squashed to hell mixes that my mastering buddies can't unsquash and they wish they had had a chance to get at the mix before someone hit it (with one, two, or even three hammers!) when the ^#$%ing thing was gonna come to them in the end anyway!

Hey, you can abuse anything. You can use tools incorrectly. When Morphine is used for it's intended purpose, pain killer, it's probably the best tool for the job. When it's used incorrectly, the user turns blue and dies. Now, is that the fault of the Morphine, or of the person applying the Morphine?

That said, I hardly know anyone who has the Daniel Weiss compressors at their place. These devices sound FANTASTIC (or is it the mastering guy operating it??) and so I guessed I'd see them come up here, but not yet. Perhaps because they are dig in dig out boxes? Or is that the start of whole 'nuther thread?

That's the start of a whole 'nuther thread. Frankly, I'm not a fan, but then there are damn few dig things that have peaked my interest. The 'Massenburg Design Works' equalizers are bloody interesting, the Z-Sys equalizer is pretty cool, the Weiss compressor, lets just say it didn't do it for me, maybe the next revision. The Waves is gawd ^#$%ing awful, I don't know how they put that turd on the market with a straight face.

One day I'm going to hear some compression in the digital domain I like (for 2-bus), I'm quite enamoured with the 'Bomb Factory' plugs for 'PT'.

As always...YMMV.
 
Last edited by a moderator:

nrgmusic

Member
Joined
Jan 20, 2001
Quote:
Originally posted by Fletcher
---------------------------------------------------------
I'm quite enamoured with the 'Bomb Factory' plugs for 'PT'.
---------------------------------------------------------
FWIW and I am aware that my opinion means not a lot, I have just downloaded a demo of these Bombfactory plugs and I think they are f******ing awesome. By far and away the best sounding PT plugs I have heard yet!!

Simon ;)
 
W

West Of Essex

Guest
"They played a song by the 'Motels' followed by a song off the new 'Dave Mathews Band' album. The new "DMB" song sounded like it had been a case study in "constant 6kHz".

I actually had to turn it down to hear the song!! It was compressed, it was constant, it was bright, it was one heap big loud motherfucker. It was musically interesting once I got it so it didn't scream at me."

Respectfully, I'm not sure that this convinces me of the joys of overcompression. Unfortunately, I'm in the minority these days. Seems that compression is popular today as gated verb was in the mid 80s. I'm hoping that some sort of "turn it down so I can hear it better" movement kicks in so I can enjoy pop tunes again on a good system for longer than 10 minutes.

WOE
 

osmuir

Well-Known Member
Joined
Apr 3, 2001
now, i'm just biased because i have a mastering engineer in the family, but i think "yea, it's a good idea to avoid too much compression on the mix"

but he're what i started doing:RNC into line inputs of my pendulum MDP-1. yea, that's a mic preamp. and it sounds ^#$%ing great. so i compress a little bit, than go out through the balanced [or i think they are, but transformerless...anyway, they got 3 pins!] outputs on the mic pre into my apogee to my mixdown DAT...

i use the mic pre for the make up gain. aren't i a smart youngster? riiiiight.

anyone else think this is a cool idea?

also, you get a mic pre out of the deal.

basicly i was just trying ot find a way to get my RNC to output to the apogee w/out running through a lil mackie.

and question, cause i'm a reletive compression youngin'

how should i set up my RNC to act like a hardcore pre a/d peak limiter? i've been testing it out and it's still been clipping my a/d's...transparency is key.

help?

-owen
 
Top